ANNOUNCEMENT
The Clown Farm returns for a landmark documentation of the work.
We’ll be recording in person, for the very first time, in early October this year. That’s right! It’s all happening in North Sydney, Cape Breton, Nova Scotia. The studio is booked and the class filled in just 24 hours!
For years John has wanted to document the work, but cameras can be disruptive, especially for Mask and Clown Intensive (Baby Clown) where students are immersed in the process. However, Teacher’s Perspective provides the perfect opportunity for documentation as participants are already experienced with the work and have completed prerequisite courses. This allows for the exercises to be reflected upon and discussed without compromising students’ introduction to the work. It will also allow this uniquely Canadian methodology to be shared further than was previously ever possible.
PLEASE NOTE: Enrollment for Teacher’s Perspective 2026 is currently full.
If you would like to receive notifications about future workshop (Teacher’s Perspective) dates, please reach out via our contact form and include the following details: qualifications (courses completed), aspirations in regards to the work and a resumé.
about
The Clown Farm is a unique facilitator of research, training, creation and performance in all areas of the performing arts. It is the labour of love of John Turner, Canadian clown extraordinaire of Mump & Smoot fame.
INTRODUCTION
The Clown Farm (TCF) was created in 2002 when John Turner and his wife Julia Winder moved from downtown Toronto to a farm situated in the heart of Manitoulin Island in Northern Ontario, Canada. Students come from around the globe to explore the worlds of their creativity. Whether they are an aspiring or established artist, or from any other walk of life (teachers, musicians, professors, doctors, carpenters, etc.), they find wonderfully stimulating workshops developed through years of professional theatre creation and performance experience.
In addition to in-person workshops, John has developed fun online training and coaching courses that are geared towards the development and nourishment of the individual’s creativity.
VISION
The Clown Farm (TCF) draws on the history of Canadian performing arts traditions in the development of a uniquely Canadian theatrical pedagogy. Theatre training programs began in Canada in the 1950s under the tutelage of Michel St. Denis and were attempting to emulate the excellence of British theatre. Since this time Canada has cultivated its own artistic identity; however this artistic identity and the practices that have contributed to it have not always found their way into theatrical training programs in Canada. Indeed, nearly all contemporary programs offered in Canada derive from the work of American and European masters.
The Clown Farm is unique in that its pedagogical program is rooted in and extends the work of a lineage of Canadian theatrical masters, visionaries and experimenters. TCF aims to become a living archive of Canadian performing art practices, as well as expanding these practices in new directions through ongoing experimentation, insight and innovation. Theatrical techniques are traditionally passed from teacher to student orally, generation after generation, often leaving little to no record of pedagogical techniques – their origins and their ongoing development. TCF aims to counteract the challenges of this cultural and artistic amnesia in Canada by approaching our pedagogy as a living archive, as well as by amassing a written archive of relevant literature and documentation.
The work of The Clown Farm finds its foundations in the pioneering clown and mask research done by Canadian visionary Richard Pochinko, who drew on a wide array of clown traditions to create a new form of exercise and study. In 1987, John Turner, Michael Kennard and Karen Hines entered into the training offered by Pochinko. Over 25 years of experimentation, synthesis and performance, these practitioners have furthered the work begun by Pochinko. This lineage of creative development through clown is at the center of the work done at TCF.
The Clown Farm is unique in its approach to teaching, offering immersive programs that allow participants to develop their artistic practices and vision in direct connection with their surroundings.
The Clown Farm is rooted in a lineage of Canadian artistic excellence. This excellence is at the core of our pedagogical practice and serves as the inspiration for future generations of artistic creation and performance in Canada.
JOHN TURNER
Artistic Director and Clown Instructor
John is best known as the “Smoot” half of Mump & Smoot, along with Michael Kennard (“Mump”). This award winning Canadian clown duo has delighted audiences throughout North America for the past thirty years. After three sold out Fringe Festival tours in 1989, 1990, and 1992, Mump & Smoot went on to play regional theatres across the continent with great success. These theatres include the Astor Place Theater (Off Broadway), Yale Repertory Theater, the La Jolla Playhouse, the Dallas Theater Center, the American Repertory Theater (Boston), Baltimore Center Stage, the Canadian Stage in Toronto, Alberta Theatre Projects in Calgary, and the Vancouver East Cultural Centre to name but a few.
John began teaching the Pochinko style of clown in 1991 at Equity Showcase in Toronto. He taught there for 7 years before opening his own studio, The SPACE, with Michael Kennard where he continued to teach, direct, and work on Mump & Smoot shows for the next 6 years. He currently teaches primarily throughout the summer on his farm on Manitoulin Island. He also has had ongoing teaching gigs at Laurentian University in the Francophone drama programme (11 years), the Centre for Indigenous Theatre (6 years) and the De-ba-jeh-mu-jig Theatre Company (5 years). Other teaching stints have included the Yale School of Drama Graduate Program where he was an associate artist for seven years, Centre for Addiction and Mental Health (Workman Theatre Project), the University of Tel Aviv, the University of Calgary, Bishops University, the University of Guelph, California State University, Michigan Tech, the Humber Comedy Centre and the Stratford Festival.
John is also the director of Karen Hines’ Citizen Pochsy, one of the acclaimed trilogy of Pochsy Plays on which John has collaborated for over a decade, (finalist for the Governor General’s Award for Drama). Other directing credits include Jennifer Dallas’s Dora Award winning Kittly-Bender, Sandrine Lafond’s Little Lady, Michael Kennard’s Puzzle Me Red, Miriam Cusson and Mélissa Rockburn’s Stuff, Diana Kolpak’s Lionheart, Emelia Symington Fedy’s Patti Fedy in Lovers Rock. For the De-ba-jeh-mu-jig Theatre Group, John directed the workshop and full production of The Gulch, as well as Tomson Highway’s A Trickster Tale. John also directed Clown & Such… at the Centre for Indigenous Theatre, Louis Negin’s The Boy Scouts’ Manual, and Linda Brokenshire’s The Lecture and The Hero.
Along with his long time partner and collaborator Michael Kennard, John has used his extensive performance and show creation experience to create more advanced workshops specifically designed for the student that wishes to use this work in a professional capacity. Some are performance oriented and some are creation oriented but there are as many reasons for taking them as there are students.
For more information visit www.johnwturner.ca
Course Information
Enrollment for Teacher’s Perspective is currently full. Contact us to receive notifications about future dates.
SCHEDULE
Enrollment for Teacher’s Perspective 2026 is currently full. If you would like to receive notifications about future workshop (Teacher’s Perspective) dates, please reach out via our contact form.
Workshops including Mask and Clown Intensive (Baby Clown), Boot Camp, Joey and Auguste and many more are currently being offered through One North Clown and Creation (spiritual successor of The Clown Farm and Manitoulin Conservatory for Creation and Performance). Please visit their site directly for more information and how to apply.
COURSE DESCRIPTIONS
MASK AND CLOWN INTENSIVE (BABY CLOWN)
Prerequisite: None – all are welcome, from all walks of life.
This course is based on the work of Canadian Clown Master Richard Pochinko and has been named many things: From Mask to Clown, Clown Through Mask, or The Baby Clown Workshop (the student’s clown is born at the end).
In this workshop students begin with a focus on listening. The initial exercises are used to awaken and encourage a sense of pleasure, an awareness of the audience, and an honest physical and emotional response to internal impulses and external events. Many exercises are done with eyes closed to help exercise and expand the student’s experience of perception and focus. The body (through specific movement exercises) is approached as a source of visualization for character or story elements through improvisations that include a great deal of work with colors.
Once the color work is done the students are ready for the making and wearing of six masks. This is an involved process of physicalization and visualization, exploring the innocence and experience of each mask and the relationships between them. The masks are guideposts to the student’s creative playground and as such are also the guideposts to his/her clown. With each mask the student prepares a short turn (sketch) to express the essence of the mask without the use of verbal language. Through these turns and the exercises of the entire workshop the rules of clown emerge giving the student a fundamental understanding of clown and a deeper experience of the elements at play in any performance situation. This workshop is an intense blast and furnishes the student with multiple characters and a malleable structure for continued creative exploration with limitless applications. It is not necessary to be a performer to take this course.
BOOT CAMP 1
Prerequisite: Mask and Clown Intensive (Baby Clown)
This workshop is the next stage of exploration after Baby Clown. Using various writing and development techniques and exercises to evoke both left and right brain involvement, the participants explore their own unique approach to the creation of material and performance. The mask and colour work is expanded upon (including the establishment of the gesture work) to deepen the student’s relationship with them as both a source for material and as character for performance. This workshop is perfect for those coming fresh out of The Mask and Clown Intensive (Baby Clown) or for those who seek to reacquaint themselves with the foundations of this style. The 6 days will begin with an emphasis on exploration and creation but will move towards the development of pieces for performance. Students should be aware they will be extremely challenged and while it is not necessary to bring a prepared piece they will be welcome to do so.
JOEY AND AUGUSTE
Prerequisite: Mask and Clown Intensive (Baby Clown) and Boot Camp 1 (or equivalent)
Begin to explore the exquisite dynamics of two and three clown relationships. Also referred to as the manipulator (Joey), the victim (Auguste), and the perfect balance between the two (Ringmaster), this workshop begins with the discovery of each archetype within the individual. Then each student has the opportunity to bring them out to engage with their complimentary counterparts in the external world. This workshop is done primarily working in partnership with another performer. It is not necessary to bring a partner and if you do it is still recommended students work with several different students during the workshop. There will be two public performances at the end of this workshop.
ADVANCED BOOT CAMP
Prerequisite: Mask and Clown Intensive (Baby Clown) and Boot Camp 1 (or equivalent).
This workshop will continue with the work begun in Boot Camp 1 with a stronger emphasis on the development and execution of professional work. Each day will consist of a minimum of 3 hours focused on creation and 3 hours focused on performance. There will be many additional hours for exercises, discussions, and the exploration of themes that arise out of the classes. Students will be able and encouraged to explore a broader application of the clown work including but not limited to spoken text, song, dance, bouffon, Joey & Auguste and a synthesis of any of the above. If students have any specific desires for this workshop they should feel free to begin a conversation on the subject at any point after application. Students should be aware they will be extremely challenged and are to bring 2 short prepared pieces in addition to other work to be discussed after registration.
TEACHER’S PERSPECTIVE
Prerequisite: Mask and Clown Intensive (Baby Clown) and Boot Camp (or equivalent).
This workshop is an ongoing and evolving workshop/seminar seminar exploring the Baby Clown Workshop from John Turner’s 35+ years of experience having taught 1200+ students in 100+ classes, having responded to the questions of 50+ teaching assistants and past Teacher’s Perspective participants. It is intended as an in depth look at all aspects of the work including the experience of both student and teacher and their relationship throughout; adapting constantly to the ever-changing zeitgeist of theatre training.
All of the exercises and games of the workshop will be thoroughly examined and discussed for their underlying principles, philosophies and pedagogy. There will be extensive exploration and discussion of The Clown Rules and their application, as well as discussion of the broader applications of this work and its evolution for students in class, artists in creation/performance, as well as the audience in the theatre.
HISTORY
WHAT WE DO
The foundation of this training is rooted in the work of Richard Pochinko. Richard was a Canadian clown and theatre visionary who developed a unique style of creative exploration and/or performance training drawing on several different clown traditions, a lifetime of theatrical experimentation, and personal inspiration. Richard’s “non-technique” technique has been a catalyst for countless highly original creative endeavours. John Turner and Michael Kennard of Mump & Smoot, and their director Karen Hines of Pochsy fame have all been inspired by this work and have continued its evolution through many years of professional application and experimentation in the realms of creation, performance, directing and teaching. Their 30 years of applying this vision through these realms has been the main guide to the programming at The Clown Farm, recognizing additional creative input from dozens of other artists similarly influenced.
Who We've Worked With
Instructors at The Clown Farm are working professionals who bring a wealth of experience as both artists and teachers to their classes.
Michael Kennard
Clown Instructor
For the past twenty-five years Michael has been a co-creator (with John Turner), performer and producer with internationally acclaimed clown duo Mump & Smoot, creating 7 full-length shows.
Michael is a graduate of the University Of Guelph Drama program and has studied physical comedy, clown, mask, improv and movement with Richard Pochinko, Ian Wallace, Fiona Griffths, Philippe Gaulier and The Second City. He has taught at The Yale School of Drama, Tel Aviv University, California State University, Guelph University, Bishops University, Equity Showcase, The SPACE, The Humber College Comedy program and now at the University of Alberta.
Michael’s directing credits include: The Christmas Carol, The Hobbit and The Wizard of Oz at The Globe Theatre in Regina, The Second City’s Family Circus Maximus and Insanity Fair in Toronto and co-directed Embryo’s on Ice in Chicago, Half a Sixpence at Bishops’ University and The Hollow at Berkeley St Theatre. Michael has been recognized for his work with a Dora award, two Canadian Comedy awards, a Boston Theatre award and a Drama Logue award (California).
For more information visit: www.michaelkennard.ca
Karen Hines
Neo Bouffon Instructor
Karen is an award-winning writer, director and performer and the artistic director of Keep Frozen: Pochsy Productions, which develops Hines’ dark comedies for stage and screen. She is the author of Drama: Pilot Episode, Citizen Pochsy, Hello…Hello (A Romantic Satire), Oh, baby and Pochsy’s Lips as well as several short plays and the Neo-Cabaret Pochsy Unplugged, which have been presented across North America and in Germany at venues such as Alberta Theatre Projects, Tarragon Theatre, Actors Theatre of Louisville, Joe’s Pub (Public Theatre, NYC), Word Stage, Factory Theatre, Magnetic North, One Yellow Rabbit and Beme Theatre in Munich.
Hines is a two-time finalist for the Governor General’s Literary Award for Drama for her trilogy of Pochsy Plays and for Drama: Pilot Episode. Other awards and citations for her productions include a dozen Dora Mavor Moore nominations, the Betty Mitchell Award for New Play, two Alberta Writers Guild Awards, and twice finalist for the Chalmers Award for Playwriting (Hello…Hello, Oh, baby). Karen is also a Dora Award-winning director and performer.
Karen is a Second City alumna and long-time collaborator with fellow alums Sandra Balcovske and composer Greg Morrison. Their prize-winning short films, featuring the character Pochsy, have screened at festivals around the globe. At Second City, Karen also met horror clown duo Mump & Smoot and has directed all their shows to date from Canadian Fringe Festivals to Yale Repertory, Off Broadway, across America and overseas. She was director and dramaturge of the inaugural production of Linda Griffiths’ Age of Arousal (Alberta Theatre Projects), and she will be directing Linda’s upcoming production, HeavenAbove/HeavenBelow (Theatre Passe Muraille).
Karen has performed in film, television and onstage and co-starred in Ken Finkleman’s Emmy Award-winning (Canadian) satire The Newsroom, as well as his Foreign Objects and Married Life for which she was nominated for Gemini and CableACE Awards.She has written for magazines, anthologies and literary journals and has won Western and National Magazine Awards. She has spoken at universities and literary festivals and teaches also in conservatory settings. All of her plays are published by Coach House Books.
Karen has been playwright in residence at Tarragon Theatre and at Alberta Theatre Projects. She was born in Chicago, raised in Toronto and now lives in Calgary, where she is writing a feature film, Crawl Space, and a new play, ILK.
For more information visit: www.keepfrozen.org
Fiona Griffiths
Movement Instructor
Fiona (MFA, MA) is an acclaimed multimedia theatre artist with extensive performing & touring experience in dance, theatre and clown. A graduate of the Concordia University dance program (BFA/MFA) and The University of London, UK – acting pedagogy (MA, honours); Fiona also studied extensively with Richard Pochinko (clowning) and Linda Putnam (the work).
SourceWork is the result of her years of mastering physical, emotional and theatrical systems and she teaches this work in the acting, dance and clowning communities. As well as teaching in many university theatre programs including the graduate programs of York and Yale Universities and Central School of Speech and Drama, UK, she has also collaborated with theatre companies including GCTC, Tarragon, Nightwood, Buddies in Bad Times, Theatre Columbus and coached many independent productions.
Fiona has worked with clowns: Morrow and Jasp, Mump and Smoot, Pochsy and Crystel Bartelse, etc., as well as dancers and choreographers: Pam Johnson, La Caravan (Calgary), Lilia Leon, Jennifer Dallas, Peter Chin, Eroca Nichols, etc., and has coached with many Fringe shows over the last 15 years. In 2012, Fiona and Steven Bush co-directed Autogeddon, and for the 2013 Fringe of Toronto she directed How to Become a Spinster. Her recent performances include the international UK hit Hotel Medea, Nuit Blanche, The Intersection Project, 24 hours of Butoh…or not, Red Nose District and Shot at Dawn.
Fiona was also also a featured speaker at the International Festival of Clowns. She is an avid researcher and has published and presented papers on the performing brain: How our brain is wired to act and Beyond Acting: living the play through physicalised image streams. As well as running independent workshops and coaching various performers, Fiona currently teaches at the School of Toronto Dance Theatre & The Manitoulin Conservatory for Creation and Performance.
For more information visit: www.fionagriffiths.com
Miriam Cusson
Instructor and Director
Miriam Cusson is a bilingual director, actor, playwright, dramaturg and designer. She lives in the epicenter of un grand trou noir dans l’espace du Nord, also known as Sudbury. This industrial place also happens to border a plethora of magnificent lakes, breathtaking forests and the some of the kindest, most interesting and inspired people in the world.
Her multidisciplinary work explores poetry amidst the violence and cruelty of contemporary society and questions the place and impact of individuals in our collectivity. Her artistic approach embraces a juxtaposition of vulnerability and fortitude, of beauty and destruction, while attempting to challenge preconceived notions and conventions.
Miriam has created and co-created several original works such as Tranquillité (2005), Le parcours littéraire (2006-2007), Stuff ou les aventures en catalogue (2007), Fara Lifa : Fred et Crudo do Iceland (2010), Nowhere du Nord (2013) and Parmi les éclats- Shattered (2018).
She has also founded or co-founded several theatre collectives notably le Collectif FFF (2003-2005), les Productions Roches Brûlées (2009-2014) and le Théâtre aux Quatre Vents (2015 to present, a community and university company dedicated to exploration and emerging artists).
Miriam has two honours degrees from Laurentian University in Histoire canadienne, and in Arts d’expression as well as a Master’s degree in Theatre-Directing from Ottawa University. Her student production of Viol by Botho Strauss (based on Shakespeare’s Titus Andronicus) won her Best Student Director’s Award from the Capital Critics Circle in 2015.
In 2017, Miriam received the OAC’s prestigious JOHN-HIRSCH award and has recently been awarded the Greater Sudbury Mayor’s Celebration of the Arts Award for Mid-career artist.
She’s also done some other stuff. From 2006 to 2010 she was Executive and Artistic director of le Salon du livre du Grand Sudbury. From 2011 to 2016, she was literary advisor for les Éditions Prise de Parole’s poetry publications and she has been teaching in Laurentian University’s Francophone theatre program since 2004.
Miriam has been studying, practicing and dreaming about clown and bouffon since she first met John Turner in 2001. She has been working with The Clown Farm since its creation.
For more information visit: www.nac-cna.ca/en/bio/miriam-cusson
Fides Krucker
Voice Instructor
Fides Krucker has been an innovative interpreter of vocal music in Canada and abroad for thirty years. She has premiered operas by composers Owen Underhill, Rainer Wiens, Rodney Sharman, John Metcalf, Serge Provost, Maurizio Squillante and Paul Dresher. Her company, Good Hair Day Productions, has created and produced groundbreaking lyric-theatre for two decades including Girl with no door on her mouth (Wende Bartley/Anne Carson) the r n’b love and disability show CP Salon with Kazumi Tsuruoka (now an NFB film) and the sexual catastrophe, electroacoustic opera Julie Sits Waiting (Louis Dufort/Tom Walmsley), nominated for five Doras.
Fides founded URGE — a music-driven, all-female interdisciplinary ensemble; their fifth and final work was published by Playwrights Canada. For the last three years Fides has collaborated with Peggy Baker composing vocal scores for her dancers, and receiving a composition award for phase space. Her vocal creation for the technopera 3 Singers (Mott/Ingebritsen) premiered in Krakow and Chicago in the 2014/15 season and was praised for its ‘feminist jolt’ and ‘heartbreaking beauty’. She sang like a mermaid for both the theatre production and recording of DIVE (Nik Beeson/Richard Sanger.)
This winter her recording of Luciano Berio’s Folk Songs with Vancouver’s Turning Point Ensemble will be released as well as an improvisatory album with Philadelphia based guitarist Tim Motzer. In This Body, an emotional landscape of Canadian pop songs by women sung by Fides and danced by Peggy Baker, Laurence Lemieux and Heidi Strauss, will premiere at Canadian Stage’s Berkeley Theatre from March 14th – 18th. It has also been recorded. She is editing the final draft of her book, researched through a Chalmers’ Arts Fellowship, Good Girls Don’t Sing: A woman’s understanding of the female voice.
Fides teaches at Humber College, privately in Toronto and internationally for various dance and theatre companies.
For more information visit: www.fideskrucker.com
Grindl Kuchirka
Dancing Clown Instructor
Grindl is a clown, a unique Canadian artist who combines the dedication and discipline of a dancer with the whimsical spontaneity of a clown, a silent poet of movement, a “globetrotter of laughter and emotion”.
Ms. Kuchirka possesses a wealth of training in dance and movement as well as over 30 years of experience touring as a solo clown throughout North America, Europe, Asia, India and South America. She has created, developed and conducted her Dancing Clown Workshop in Canada, France, Holland, India and Brasil. An experienced choreographer for both Theatre and Television she is beloved by thousands of young admirers through her appearances as Granny Garbanzo in the Gemini Award-winning children’s television show The Big Comfy Couch.
Her studies of modern dance and ballet include work with Paula Ross, Nadia Pavlychenko, Kathryn Brown, Maria Asamasova and The Teacher’s Collective Toronto. She has studied tai chi with Donna Oliver and movement and theatre with Monica Pagneux. Her studies in clown include Pierre Byland, Jeanmarie Bevort, and Maria Cassi.
Teaching credits include residencies with Claude Watson School For The Arts, Pavlychenko Studio, Amsterdam Clown School, ClownschoolBuus, Holland, Passepartout Holland, Paula Ross Dancers, Arts Umbrella, Vancouver, L’Auguste Rendez-vous, Montreal, SickKids Hospital, Toronto Board of Education, York University, SPACE, Toronto, Women’s International Clown Festival Rio De Janeiro, AIMS Hospital Cochin, India.
Grindl Kuchirka’s artistic endeavors have been generously supported by The Ontario Arts Council, Laidlaw Foundation, Toronto Arts Council, and The Canada Council for The Arts.
For more information visit: www.grindl.ca
Sonja Rainey
Prop and Set Instructor
Sonja is a Dora nominated set and costume designer as well as a community based artist. She has designed for theatre, puppetry, opera, film and spectacle events and has had work produced in Canada, the U.S and as part of the Prague Quadrennial. Her approach is tactile and experiential, responding to the ideas and themes at hand to create objects, immersive environments that blend forms and materials to move towards the questions and stories that lie below the surface.
Collaborations have included working with the Bicycle Opera Project, urbanvessel, the Canadian Opera Company, Jumblies Theatre as well as Making Room Community Arts, MABELLEarts and the Community Arts Guild. Her work with these companies has encompassed set and costume design; puppet, projection and mask work; illustration and sculpture as well as the creation of short narrative films. Sonja has an MFA in Theatrical Design from the University of Texas at Austin, a BFA specialization in Design for the Theatre from Concordia University and has most recently studied at the Manitoulin Conservatory for Creation and Performance.
Jenny Hazelton
Facilities Manager, Clown Instructor and Teaching Assistant Administrator
Jenny is a performer, director and an instructor of acting, mime and physical theatre creation at Laurentian University in Sudbury, Ontario. She has trained at Ecole International de Theatre Jacques Lecoq in ensemble creation, physical theatre and mime; as well as at the Mime Centrum Berlin in Berlin, Germany, training in Meyerhold’s system of biomechanics. For the last several years, she has continued her training in Clown and Bouffon with John Turner of Canada’s horror clown duo Mump and Smoot at the Manitoulin Conservatory for Creation and Performance (MCCP). She works closely with John, assisting him both at Laurentian University as well as at the MCCP. Jenny has travelled extensively to work with both Canadian and international students in several intercultural theatre exchanges, directing and teaching traditional acting technique, mask, mime and clown in various places across Canada, Denmark and Taiwan.
She is also a designer, puppeteer, and a theatre technician having worked on various projects with such groups as the Sudbury Theatre Centre, Encore Theatre Company, Carrefour Francophone, CFOF Sudbury, Sudbury Secondary School, Salon du Livres, Musagetes, Crestfallen Theatre Cabal, and Pat the Dog Theatre Creation.
Some of Jenny’s work includes: Directing/Voice 1 – Under Milk Wood (Stolen Ceiling 2009/10); Assistant Director – Down Dangerous Passes Road (Encore 2012); Anna/Lighting Design – Closer (Encore 2012); Dancer/Clown – The Imagination Project (elleQ Dance Factory 2012); Director/Lighting Design – Alphonse (Encore 2013); Producer – Lenin’s Embalmers (Encore 2013); Puppet Design/Builder – Black Dog 4 vs the World (Sudbury Theatre Centre 2013); Wrath/Bouffon Clown Clump – Nowhere Du Nord (Musagetes 2013); Producer/Lighting Design – The Monument (Encore 2013); Remy – Plague (Crestfallen 2014); Director/Set/Lighting Design – Abraham Lincoln Goes to the Theatre (Encore 2015); Director – The Dead Mess Project (Thorneloe 2015); Deadpan Twin, Design – BrokeDownTown (Crestfallen 2016); Chase – The Receiver of Wreck (PTD 2017).
For more information visit: www.onenorthclownandcreation.ca
Jed Tomlinson
Facilities Manager and Clown Instructor
Jed is a bilingual theatre artist (French and English). He is the Co-Founder of Sizzle and Spark Productions whose inaugural show The Sama Kutra has enjoyed over 50 performances across the country. Their second show, Hushabye, is currently touring across Canada. Other clown credits include: The Island (Hectik Theatre), The Lost and Lost Department (Pie Factory Collective), The Sleep Over (Under Ground Cabaret), and Ashes (Sage Theatre’s Ignite Festival).
After 10 years as a freelance actor, drummer, and theatre artist, Jed began his training in Pochinko clown in 2010 at The Clown Farm (formerly the Manitoulin Conservatory for Creation and Performance or MCCP), primarily under the tutelage of John Turner of Mump and Smoot.
Jed has taught clown for the University of New Mexico, the University of Regina, Bishop’s University, Dawson College, Tricklock Theatre, Momo Dance, and Dancing Sky Theatre as well as at the National Hispanic Cultural Centre in New Mexico. He is currently an Artist in Residence at The Clown Farm.
Contact Us
If you would like to receive notifications about future workshop (Teacher’s Perspective) dates, please reach out via our contact form and include the following details: qualifications (courses completed), aspirations in regards to the work and a resumé.
Send us a message.
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